Brewtalityhttp://www.guitarworld.com/taxonomy/term/502/all
enZakk Wylde's Brewtality: Pentatonics — Connecting the Dots and Climbing the Neckhttp://www.guitarworld.com/zakk-wyldes-brewtality-pentatonics-connecting-dots-and-climbing-neck
<!--paging_filter--><p><em>In another entry from his classic </em>Guitar World<em> column, "Brewtality," Zakk Wylde shows you how to connect the dots and move up the neck while playing pentatonic patterns.</em></p>
<p>Welcome to Brewtality No. 3. I’m writing this month’s installment while out on the road on the Merry Mayhem tour, with Ozzy Osbourne and Rob Zombie, and I’m having a total blast. Ozzy is singing his ass off and the band is slamming so goddamned hard it’s beyond brewtal!</p>
<p><a href="http://www.guitarworld.com/brewtality-linking-minor-pentatonic-scales">Last time</a> we started playing “connect the dots” by checking out some licks that combine notes from the first three of the five A minor pentatonic scale patterns we learned in <a href="http://www.guitarworld.com/brewtality-five-minor-pentatonic-scale-patterns-every-guitarist-should-know">Brewtality No. 1</a>. In this lesson we’re gonna connect all five scale patterns together. Once again, we’re gonna be utilizing strict alternate picking (down, up, down, up, etc.) on every run, so grab a pick and let’s get to it.</p>
<p><img src="http://www.guitaraficionado.com/GW/brew3_1.gif" width="620" /></p>
<p>FIGURE 1 illustrates the five A minor pentatonic scale patterns we’ve been working with in the last two lessons, with the notes on the top two strings circled. This will serve as a visual reference for the following exercises. Now check out the first bar of FIGURE 2, which shows a repeated picking sequence of 16th notes on the top two strings in scale pattern 1. </p>
<p><img src="http://www.guitaraficionado.com/GW/brew3_2.gif" width="620" /></p>
<p>What we’re going to do is continue this picking sequence while moving up the neck through the other four scale patterns, as depicted in the remaining six bars of the run. Start off playing this figure slowly, then build up speed as you see fit. As you’ll hear, the faster you play it, the cooler it sounds. FIGURE 3 is basically the same deal as FIGURE 2, but here you just play the picking sequence once in each scale position and then move up to the next one until you get to the 17th position.</p>
<p><img src="http://www.guitaraficionado.com/GW/brew3_3.gif" width="620" /></p>
<p>FIGURE 4 uses the same picking pattern as FIGURES 2 and 3 but with different rhythmic phrasing, which gives the run a completely fresh vibe.</p>
<p><img src="http://www.guitaraficionado.com/GW/brew3_4.gif" width="620" /></p>
<p>FIGURES 5 and 6 are more phrasing variations based on this picking sequence. They both sound pretty rippin’ when played fast. FIGURE 5 is an especially good alternate picking exercise.</p>
<p><img src="http://www.guitaraficionado.com/GW/brew3_5.gif" width="620" /></p>
<p><img src="http://www.guitaraficionado.com/GW/brew3_6.gif" width="620" /></p>
<p>Like I said earlier, all we’re doing here is connecting the A minor pentatonic notes on the B and high E strings and using them to climb up the neck. This is a pretty simple concept, but as you’ve probably just realized, when these kinds of licks are played at a fast tempo, they sound pretty fuckin’ kick-ass! Being able to quickly shift positions from one scale pattern to another like this is also a great way of moving up or down the neck without leaving any “holes” in your lines.</p>
<p>Now that I’ve shown you a few examples of this concept, try experimenting with it on your own by finding a picking pattern you dig and then moving it up the neck through the scale patterns we’ve learned. It’s also good to practice this in different keys. I’m sure you’ll come up with a million different combinations of patterns before you know it. Time for a brew…see ya next time.</p>
<fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist">
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<a href="/zakk-wylde">Zakk Wylde</a> </div>
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http://www.guitarworld.com/zakk-wyldes-brewtality-pentatonics-connecting-dots-and-climbing-neck#commentsBlack Label SocietyBrewtalitypentatonicsZakk WyldeBlogsLessonsTue, 22 Jan 2013 20:37:00 +0000Zakk Wyldehttp://www.guitarworld.com/article/11278Brewtality: Linking A Minor Pentatonic Scaleshttp://www.guitarworld.com/brewtality-linking-minor-pentatonic-scales
<!--paging_filter--><p><em>GuitarWorld.com revisits Zakk Wylde's classic </em>Guitar World<em> column, "Brewtality."</em></p>
<p>Last time, we kicked off this series of Brewtality columns by going over some basic, but essential, stuff and learning how to play the A minor pentatonic scale (A C D E G) all over the neck. We did this by learning the five fretboard patterns shown in FIGURE 1. </p>
<p>Hopefully you’ve gotten all five of these patterns nailed by now because, like I told you last time, together they form the basic framework that we’re gonna be using to create some pentatonic runs and licks over the next few columns. </p>
<p>In fact, in this installment of Brewtality we’re gonna link a few of these scale patterns together so you can start making full use of your guitar’s neck when you’re wailing out a brewtal lead, instead of just using one “box shape” (scale pattern) all the time, which is a common trap that a lot of players fall into. </p>
<p><img src="http://guitaraficionado.com/GW/brew1.gif" width="620" style="padding:10px 0 10px 0;" /></p>
<p><img src="http://guitaraficionado.com/GW/brew2.gif" width="620" style="padding:10px 0 10px 0;" /></p>
<p>Before we get into that, though, I have to tell you something I forgot to explain last time, and that is what the hell “pentatonic” means! Pentatonic is just another way of saying “five tones” or “five notes,” that’s all. So, a pentatonic scale is just a scale made up of five different notes that are repeated in different octaves.</p>
<p>If you play through any one of the A minor pentatonic scale patterns we’ve just learned, you’ll hear what I’m talking about. For example, check out FIGURE 2, which is the second A minor pentatonic scale pattern we learned last month. </p>
<p>As you can see and hear, after the first five notes, the scale starts repeating again; the only difference is that the second five notes are an octave higher than the first five. Now that we’ve gotten that straightened out, let’s start connecting those dots.</p>
<p><img src="http://guitaraficionado.com/GW/brew3.gif" width="620" style="padding:10px 0 10px 0;" /></p>
<p><img src="http://guitaraficionado.com/GW/brew4.gif" width="620" style="padding:10px 0 10px 0;" /></p>
<p>FIGURE 3 is a kick-ass run that uses the first two A minor pentatonic scale patterns together in a single phrase. As you can see, what we’ve done here is pretty simple, but it’s definitely effective. We’ve basically added the first four notes of scale pattern 1 (see FIGURE 4) to scale pattern 2 (see FIGURE 5), using finger slides to create the bigger, overlapping fretboard pattern shown in FIGURE 6. </p>
<p>Now let’s take this approach a step further by adding some notes from scale pattern 3. We’ll take the first four notes of scale pattern 1, the notes on the A, D and G strings of scale pattern 2 and the last six notes of scale pattern 3, and combine them, via finger slides, to create an elongated pattern that covers a pretty wide swath of fretboard territory. </p>
<p>FIGURE 7 illustrates the resulting pattern. FIGURE 8 is a run that takes you up and down this new pattern. As you can see, with a couple of two-fret slides on the A and G strings, it takes us from the third fret up to the 10th and back. Notice that I slide up the neck with the ring finger and down with the index finger. It just feels more natural to me to “pull” or “lead” my fretting hand in the direction I’m going, as opposed to “pushing it.”</p>
<p><img src="http://guitaraficionado.com/GW/brew5.gif" width="620" style="padding:10px 0 10px 0;" /></p>
<p>FIGURE 9 is another A minor pentatonic run that rips though this new scale pattern. Try slamming out some licks and runs of your own using this pattern.</p>
<p><img src="http://guitaraficionado.com/GW/brew7.gif" width="620" style="padding:10px 0 10px 0;" /></p>
<fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist">
<div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div>
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<a href="/zakk-wylde">Zakk Wylde</a> </div>
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http://www.guitarworld.com/brewtality-linking-minor-pentatonic-scales#commentsBrewtalityZakk WyldeBlogsNewsLessonsThu, 17 Jan 2013 15:34:29 +0000Zakk Wyldehttp://www.guitarworld.com/article/11112Brewtality: Five Minor-Pentatonic Scale Patterns Every Guitarist Should Knowhttp://www.guitarworld.com/brewtality-five-minor-pentatonic-scale-patterns-every-guitarist-should-know
<!--paging_filter--><p><em>In this entry from his classic </em>Guitar World<em> column, "Brewtality," Zakk Wylde shows you five minor-pentatonic scale patterns every guitarist should know!</em></p>
<p>To kick things off, let’s start with some basics by looking at the minor-pentatonic scale and how it covers the whole neck. To keep things simple, we’ll stay in the key of A minor for now. Later on, we’ll learn how to transpose what we learn into any key, which, as you’ll soon find out, is a real easy thing to do. What I’m gonna show you this month are the five different ways you can play the A-minor pentatonic scale (A C D E G) in different places on the fretboard. </p>
<p>These five shapes are pretty important to know because, as you’re about to find out, they cover the whole neck! Because of this, they form the basic framework on which we’ll start building kick-ass runs and licks over the next few columns. </p>
<p>We’re gonna be using all four of our left-hand (fretboard) fingers, and we’ll number them 1, 2, 3 and 4 (index, middle, ring and pinkie, respectively). These numbers are gonna appear below each scale so you know exactly what finger to use on each note. We’re also gonna be using alternate picking, which just means you pick down, up, down, up and so on. The picking strokes are clearly marked above each scale pattern so you know exactly what you are supposed to do. </p>
<p>FIGURE 1 shows the first pentatonic scale pattern. </p>
<p>Play it through a couple of times to get used to how it feels and sounds, then move up the neck to the next pattern, which is shown in FIGURE 2. When you’ve gotten that one under your fingers, play the next three patterns (FIGURES 3–5) in the same way. Once you get up to pattern 5 (FIGURE 5) you’re done, because when you move up to the next pentatonic pattern (FIGURE 6) you end up with the first pattern, but an octave (12 frets) higher. Compare FIGURE 1 and FIGURE 6 and you’ll see and hear exactly what I mean.</p>
<p>Keep going through these patterns until you can play through them pretty fast and with total confidence. I know this isn’t the most exciting stuff to practice, but stick with it because it forms the basic framework we need to start ripping out some brewtal leads.</p>
<p><img src="http://www.guitaraficionado.com/GW/brewtality_0102_fig1.gif" width="620" /></p>
<p><img src="http://www.guitaraficionado.com/GW/brewtality_0102_fig2.gif" width="620" /></p>
<p><img src="http://www.guitaraficionado.com/GW/brewtality_0102_fig3.gif" width="620" /></p>
<p><img src="http://www.guitaraficionado.com/GW/brewtality_0102_fig4.gif" width="620" /></p>
<p><img src="http://www.guitaraficionado.com/GW/brewtality_0102_fig5.gif" width="620" /></p>
<p><img src="http://www.guitaraficionado.com/GW/brewtality_0102_fig6.gif" width="620" /></p>
<fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist">
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<a href="/ozzy-osbourne">Ozzy Osbourne</a> </div>
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<a href="/zakk-wylde">Zakk Wylde</a> </div>
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http://www.guitarworld.com/brewtality-five-minor-pentatonic-scale-patterns-every-guitarist-should-know#commentsBrewtalityZakk WyldeBlogsLessonsMon, 14 Jan 2013 16:59:10 +0000Zakk Wyldehttp://www.guitarworld.com/article/11005